Luisa Fernanda is in many ways the last great
romantic zarzuela. First seen at Madrid's Teatro Calderón on 26th
March 1932, it owes something to the earlier masters of zarzuela grande
and género chico, more to the example of Vives' recent Doña Francisquita, but its range and scale
of emotion surpasses any of Torroba's models. Musically Luisa Fernanda
embodies its composer's ideals of El casticismo - an attempt to foster the
tradition of pure, popular nationalism, of which Rodrigo's Concierto
de Aranjuez was to be the most famous example. Torroba's music certainly
offers colourful Spanish charm, as well as fair helpings of graceful Viennese
musical comedy and Italian operatic verismo. His musical personality may
be elusive, but Torroba's melodies are consistently memorable and his
theatrical instinct never falters.

Romero and Shaw
together produced the librettos for many of the most important zarzuelas
written between the First World War and the Spanish Civil War. Aside from
several important collaborations with Vives - most notably Doña Francisquita - their work for
Serrano, Guridi and
Guerrero brought out the best in these
composers. Later they were to provide the libretto for Sorozábal's La tabernera del
puerto, as well as Torroba's own hugely successful La chulapona. In
Luisa Fernanda, their characters move easily between elegant comedy of
manners and revolutionary politics; between the sophistication of Madrid and
the simplicity of the Spanish countryside; between romantic high spirits and
near-tragic melancholy. Torroba's masterpiece owes much of its success - over
10,000 performances at the last count and still rising - to their adept
handling of the period setting, and not least to their spirited dialogue, and
the passionate speeches of Nogales and Aníbal in praise of liberty.

Act 1.
Madrid, San Javier Square, outside an inn. It is 1868, and the regime of
Queen Isabel II is under threat from the revolutionary republican movement.
After the orchestral Introducción we meet the innkeeper, Mariana,
chatting in the sun with her lodgers (Escena:"Mi madre me
criaba".) These include a seamstress, Rosita, the republican Don
Luís Nogales and his enthusiastic young supporter Aníbal. A
Savoyard accompanying himself on a barrel organ sings a sad story about a girl
and an unfaithful soldier (Canción:"Marchaba a ser
soldado".) The elderly former palace clerk, Don Florito Fernandez and his
daughter Luisa join Mariana. Luisa's fiancé Javier has recently been
made a Colonel, and he is not paying Luisa his accustomed attentions. Jeromo, a
servant of the monarchist Duchess Carolina whose house is just across the
square, warns Mariana about Nogales' dangerous activities. Luisa leaves for
Mass. Javier just misses her, and is thoroughly scolded by Mariana for his
nonchalent attitude. He sings of his ambition and impatience with the quiet
life of Madrid (Romanza:"De
este apacible rincón de Madrid".) Overseen by the Duchess from
her balcony, Aníbal tries to talk Javier into joining the revolutionary
movement and introduces him to Nogales.

The men leave, and Luisa returns. Mariana strongly advises her to
forget Javier and think about marrying a rich landowner, Vidal Hernando, who
has come to Madrid to look for a wife and is on his way to the inn. Mariana
introduces him to Luisa. She indulges herself in some mild flirtation, but
warns Vidal that she is deeply in love with another man and leaves
(Dúo:"En mi tierra extremeña".) When Aníbal
tells him that Javier is joining the revolutionaries, Vidal has no hesitation
in declaring himself a staunch monarchist - the landowner will fight to win
Luisa from the soldier. Javier returns, looking for Luisa. The Duchess Carolina
takes the opportunity to further her acquaintance with the handsome young
Colonel (Dúo:"Caballero del alto plumero".) Under her
seductive influence - and much to the astonishment of Aníbal, Nogales
and Vidal - Javier's political allegiance takes another about turn. As Luisa
Fernanda returns, just in time to see Javier sauntering away with the Duchess
Carolina on his arm, Vidal promptly declares himself a revolutionary and
proposes to her. Hurt and confused, Luisa faints into his arms as the act ends.

Act 2 Scene
1. The Paseo de la Florida. Mariana and Rosita have been persuaded by
Carolina to organise a charity collection outside the Oratory of San Antonio,
next to a drinks stall run by the taverner Bizco Porras. Street vendors and
musicians mingle with the crowd; and young men chat with a group of ladies
carrying parasols. These 'sombrilleros' are visiting the Oratory to ask
St. Anthony to send them lovers, and Javier and Carolina join them in the
famous Parasol Mazurka (Mazurca de las sombrillas: "A San
Antonio".) Their flirtatious duetting is watched by Mariana; and when Luisa
and her tired father arrive, the innkeeper swiftly puts them in the picture.
Luisa unconcernedly explains that she has come here to meet Vidal, and taking
Mariana off for a stroll leaves Don Florito in charge of the collection table
with Rosita. Aníbal shares bad news with Bizco and Nogales about a
bungled republican attack, but Bizco is more concerned at the lad's failure to
deliver some lemons promised for the stall.

Carolina takes over at the table, soon to be joined by Vidal. She
offers him a substantial sum to join the monarchist movement, but he refuses,
quoting the fable of the village idiot who believed be was a swallow - Vidal at
least has no intention of flying above his station (Dúo: "Para
comprar a un hombre".) Luisa returns, apologising to Vidal for being late,
and when Vidal assures her that he will remain a republican for her sake Luisa,
irritated by Javier's arrogant possessiveness, tells the soldier that she
prefers the landowner after all (Terceto:"¡Cuanto tiempo sin
verte, Luisa Fernanda!".) Carolina, finding the charity table hasn't had
much luck, proposes to add to the proceeds by auctioning herself off as a dance
partner (Escena:"Señoras y caballeros".) Vidal easily
outbids the jealous Javier; but insultingly passes on his prize dance to the
soldier, who quietly confirms his determination to fight his rich rival.

Scene 2. The Calle de Toledo at dawn. The rebels are
gathering. Bizco and a churros-seller discuss the troubled situation. Nogales
makes an impassioned speech to his rag-bag of an army, which goes off in good
heart to fight and die in the name of liberty.

Scene 3. The Courtyard of Bizco's Tavern. Waiting anxiously
for news of the fighting, Mariana tells the rosary with Luisa and some
neighbours. The wounded Aníbal staggers in and reports how bravely Vidal
has fought, before being carried forcibly off to bed. Vidal disclaims heroic
status: he merely fought for love of Luisa (Romanza:"Luche la fe por el triunfo".)
When Don Florito tells them that Javier is leading a counter-attack for the
monarchists, Luisa herself defies Carolina with surprising revolutionary
fervour. The attack fails, and Javier is led in a prisoner by Nogales. The
crowd bays for his death as the Final:"¡Muera el
prisionero!" begins. Luisa steps in and bravely defends him, just before
the courtyard is invaded by Vidal and the republicans in flight from a fresh
troop of hussars. The soldiers free Javier and announce the defeat of the
insurgents. Vidal, admitting defeat on all fronts, is content to be arrested as
chief rabble-rouser by Javier, but Nogales steps in and claims that honour for
himself. The troops take Nogales away, Javier and Carolina embrace and leave
together, and Luisa promises to marry the wounded but ecstatic Vidal.

Act 3.
Vidal's country estate 'La Frondosa', at Piedras Albas in
Extramadura. The revolution has finally succeeded. Carolina has been exiled
to Portugal, whilst Javier has disappeared, reported missing after the battle
of Alcolea in which Queen Isabel II lost her throne. Mariana, Luisa and her
father have joined Vidal to prepare for the wedding. He leads a chorus of
vareadores (harvesters) in a celebrated song, in praise of his lovely
sweetheart (Coro y Romanza:"¡Ay mi morena, morena
clara!".) Aníbal rushes in, announcing that he has found Javier in
Portugal and has brought him back - Vidal had sent the boy there to fetch a
wedding dress for Luisa, but in his excitement Aníbal has foolishly
forgotten to bring it back.

Javier, wounded and broken, has asked Aníbal to persuade
Luisa Fernanda to meet him once more before the marriage. Luisa agrees, and in
a moving duet she admits to Javier that she still loves him, but tells him that
she must stand firm to her promise to Vidal. (Dúo:"¡Cállate, corazón!".) Javier wanders away, as Luisa
insists to Vidal that she will go through with the wedding. The guests, led by
Aníbal, gather to dance and enjoy themselves (Final: "El
Cerandero se ha muerto";) but when Javier returns in despair to plead with
Luisa once more, Vidal realises that Luisa will never love him. Despite her
guilty objections, he releases her from her promise and generously encourages
her to leave with Javier. Telling the harvesters to get on with their work,
Vidal is left alone to grieve, with only the memory of his lost 'morena'
- dark beauty - to comfort him.